Sodom and Gomorrah : the story of Hollywood (1935)

Record Details:

Title:
Sodom and Gomorrah : the story of Hollywood
Date:
1935
Publisher:
Los Angeles : End Poverty League
Volume:
Sodom and Gomorrah : the story of Hollywood
Leaf #:
000192
Language:
English
Collection:
Books
Format:
Books
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
March 28, 2024
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

188 SODOM AND GOMORRAH the studio, on the spur of the moment, can seldom rind another player suitable to the vacant role. The delay may be a week or more, with ruinous costs. Moreover, if the quitting star is an important box office asset, the studio cannot afford to let her go. Both sexes are susceptible to temperament, although women have violent attacks the more frequently. However, this may be due to the fact that the biggest box-office names are usually female. An ordinary player generally comes out the worse in a battle with his corporation, for it is easy to "starve" the small fry into submission. Only the big names can play the game of temperament and get away with it. Not only are the cinematic great ones slaves to publicity, but, like all newly rich, they are abject worshippers of real aristocracy and real importance. Among those who consistently pay their respects to the world-renowned or blue-blood folk is Louis B. Mayer, who spends the greater part of his time feting the great and near-great at his studio in Culver City. Whenever he is successful in luring a curious aristocrat into the MetroGoldwyn-Mayer commissary for lunch, the local papers always carry detailed stories of the affair. Mr. Mayer does not, it is very evident, share the reticence of his leading star, Greto Garbo. Silence is not a Mayer virtue.